BRAHMS Piano Concertos (Maltempo)
View record and artist detailsRecord and Artist Details
Composer or Director: Johannes Brahms
Genre:
Orchestral
Label: Piano Classics
Magazine Review Date: 09/2018
Media Format: CD or Download
Media Runtime: 97
Mastering:
DDD
Catalogue Number: PCL10145
Tracks:
Composition | Artist Credit |
---|---|
Concerto for Piano and Orchestra No. 1 |
Johannes Brahms, Composer
Johannes Brahms, Composer Marco Guidarini, Conductor Mitteleuropa Orchestra Vincenzo Maltempo, Piano |
Concerto for Piano and Orchestra No. 2 |
Johannes Brahms, Composer
Johannes Brahms, Composer Marco Guidarini, Conductor Mitteleuropa Orchestra Vincenzo Maltempo, Piano |
Author: Harriet Smith
Certainly Maltempo has the technique to play both concertos with conviction (not surprising, given that he has made a name for himself playing Alkan, and my esteemed colleague Patrick Rucker much liked his Liszt Hungarian Rhapsodies, 2/17). But I find a lack of subtlety in his approach in both concertos. In the opening movement of the D minor First, for example, the theme (from 4'48") lacks a sense of line that you find in the finest, while the chordal passage (from 6'15") begins well enough but then Maltempo can’t resist overdoing rubato – at least to these ears. The mighty octave-writing also comes across somewhat opaquely.
The orchestra itself is also not that noteworthy – entries are sometimes ragged, the wind is less characterful than some and the beautiful opening of the slow movement passes for relatively little (just hear Harding or Elder here for a masterclass in the shaping of lines). And the closing Rondo doesn’t dance as Lewis’s does. This movement is also afflicted by various noises off (eg from 0'55").
The horn solo that opens the Second Concerto immediately suggests we’re in for a long listen – less a matter of tempo than of phrasing. Again, there’s nothing wrong with Maltempo’s playing technically – but it doesn’t stand out among the myriad versions. The Allegro appassionato goes at a decent speed but the accentuation tends to hold up rather than drive matters forwards. The (uncredited) cello soloist in the Andante gives it his (or her) all, but again rubato can be a bit overdone in the movement as a whole and the finale is short on grace. Overall, I fear, not competitive.
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